Thursday, December 03, 2009

Slow Art

Slow Art, Slow Time ...
my catalogue essay on the Slow Art Collective (Dylan Martorell / Chaco Kato / Tony Adams / Ash Keating ) is now available to pick up for FREE from BUS Projects November 2009
You can also read the article online at

Thursday, August 20, 2009

words elsewhere

my article on art and war is out now in broadsheet
go here to download

Tuesday, July 21, 2009


Darwin's tree of life, the only illustration in Origin of the Species. Looks like music ...

Thursday, July 09, 2009

Found Sound # 6 All Together Now

All Together Now was the final sonic event in a series of six presented by Found Sound: The Experimental Instrument Project from January - June 2009. We invited Dale Gorfinkel & Ben Kolaitis with Albert Mishriki & Dylan Martorell to collaborate on two improvised performances - the artists then presented a selection of their original instruments to everyone who showed up for an all in sound-up featuring experimental vibrating percussive instruments, vibrottles, vibraphone keys, modified trumpet, harp made from tree branches and wood, hand-made circuitry and electronics, modified violin, springy boom-booms, cymbals, lead pencil drawing-circuits and plastic pipes. Yeaaaaaaaah!

Found Sound will be back in 2010. Anyone interested in participating in the next program of events is most welcome to drop us a line. Amelia and Albert say - clik bing swazzle clack trik shhhiz whirr prrrrrring ...

Video by Drew Roberts - thanks Drew!

Saturday, July 04, 2009

North Star Dark Star

my review of North Star Dark Star curated by Greg Fullerton at the Narrows can be found in here in unmagazine 3.1

Saturday, May 30, 2009


click HERE to download my interview with Timothy Webster on his video installation 'Cristo Redentor' (blindside gallery, march 2009)

Experiencing Experience: A Conversation between Timothy Webster and Amelia Douglas

'In WONDERLANDS Cristo Redentor, time is folded and constantly reconfigured as the front most layer of video is forever dissolving into the background. This piece is a composition of many experiences from over an hour and a half. The constant reconfiguring of the frames undermines our memory of it, yet instills a sense of what is there. Memory becomes an ad-hoc whole, composed of a myriad of fleeting moments and feelings, yet always tempered by our present experience. The motivation is to reconstruct the site in a way that seems to be disintegrating, so as to mimic our own inattention to the moment itself and therefore our desire to capture it forever, for later.'

Tim Webster 2009

Wednesday, March 25, 2009


Pierre Huyghe: A Forest of Lines

---_/- my interview with Pierre Huyghe can be found here'At the Sydney Opera House a unique experience occurs throughout the course of a day and a night. An event with no beginning and no end, no division between stage and public, no specified path to take – it is a theatre liberated from rules. From the stalls to the circles to the stage, a forest of trees has grown and spread throughout the entire Concert Hall. The light of dawn barely shines on this valley obscured by clouds. This is an in-between reality, an image of an environment, a fact that appears for a brief moment just before vanishing.

Someone walking between the trees tells a story. As the voice draws the audience into the forest, the lyrics of the song tell how to find a way out; out of the Concert Hall and into the reality of a place elsewhere.

The Concert Hall presents a geographical displacement. This image is a diversion, an extension towards another world and yet it is the same. The song is a map for a journey towards what constitutes the image. It is a line following a chain of events in the life of an environment.

The cloud of narratives obscures the necessity to find an ecology between the image and its environment.' (Pierre Huyghe, BoS)